Review: "After 10 years away from vinyl, 3am Wax Vol.1 hails a return to 12' on the label, now in its 13th year. The EP features an all-3am regular artist cast, three making their debut on vinyl and one making a return to 12' after a 12 year gap. 3am boss Al Bradley opens the EP, while label regulars Carlo Gambino, Ben Dean and Michael Scott all return for the 12". With over 400 releases and remixes between the artists, the EP showcases in-house talent from the label - the emphasis on quality rather than names. Ranging from Berlin-influenced deepness through to raw analog acid house, the EP has been doing damage at label gigs throughout 2015 including Berlin, Ibiza, Copenhagen, New York, London & label-home Leeds, with plaudits and support also coming in from a wide range of DJs from the promo."

Review: Detroit godfather Juan Atkins and Berlin techno legend Moritz Von Oswald return as Borderland, one of several collaborations since 1992 and following up their 2016 album for Tresor: the Transport LP which again consolidated both respective artist's solid studio experience, honed over the last 30 years. The funky, slightly bumpin' and absolutely addictive hi-tech soul of "Concave 1" will have you grooving away on a late night dancefloor in Berlin or beyond with its evocative and life affirming vibes. On the flip "Concave 2" further explores their studio refined sequences on this heady and hypnotic journey full of woozy arpeggios, steely rhythms and dubby bass frequencies.

Review: Some of the less charitable critics out there referred to Juan Atkins and Mortiz Van Oswald's side-project as 'boredomland'. While the pair's debut album under this name was a largely sedate affair, on the evidence of this single, they will be opting for a more engaging approach for the follow-up. It's not hard to hear both producers' influence on "Riod"; Van Oswald's love of layered textures and hollowed out drums comes up against Atkins's vivid melodies and synths from outer space. On the alternate version they venture even farther down the dreamy route, with hypnotic chords guiding the way.

Review: Adam Mori aka B.Bravo is back like a thick gush of smoke filling up the dance floor, and the Brownswood-Bleep associate is in no mood to wait till the warm up set is done. These two new smokers for the Bastard Jazz imprint are pure class, every bit as sexy and seductive as we've come to expect from the producer, starting with the sultry claps and bass of the excellent "Im For Real", a sun-scorched killer of a tune, fit for riding shotgun and turing the rooftop down. On the flipside, Mr Carmack detunes "Stay The Night" down to a funky, mid-tempo level, and it's just about the grooviest of boogie tracks that we've heard in a while. Think Daft Punk meets Willie Hutch. Wonderful.

Review: Copenhagen Underground Posse recruit more new blood with freshman B From E with "Porno TR-XXX". Instantly making up for the EP title's search engine-unfriendliness with four sparkling grooves, it's clear this young man knows his roots and how to build a palette. Each cut hitting with a classic Chicago bounce and layers of Fingers-style uplift and hope in the melodic layers, we're consistently tapped into a feeling and narrative that's both on-point and heavy in heritage. From the daydream twinkles of "Porno" to the soft-focus jazzier twist of "Let's Play", this pushes all the right buttons.

Review: Floating between their own B12 imprint and the mighty Warp Records, the UK's Michael Golding and Steve Rutter, also known as B12, have been important in the development of the Anglo techno and IDM scenes up to this day. In 2015, after a lengthy hiatus which saw them release their last 12" in 2007, the duo make their return and it's on Slam's legendary Soma imprint. A good British showdown, indeed. "Into The Void" is a pile of broken drum machine twists, while "Descension" leans towards classic electronica patters and 'intelligent' techno routes. On the flipside, "Unsound Mind" clicks and steps its way through eerie pads and heavy slices of kick drums, whereas "Terra Incognita" enters the ambient kingdom, a habitat only mildly populated by percussion. Terrific.

Review: UK IDM duo Steve Rutter and Michael Golding aka B12 continue on with their new found winning streak and another brilliant release on their FireScope imprint. "In Vain" features Yonii's sultry vocals accompanied a minimal and bass heavy arrangement that calls to mind the 'grey area' experiments by the Autonomic crew several years back while also on the A side we've got the lush dark ambient journey "Shotgun" which perfect compliments the vibe of this vocalist's truly amazing vocal range. On the flip "Sympathy Beatz" deconstructs UK bass music with subtle pop-inflections much like dBridge did some time ago on this catchy number while "Moth Beatz" distills the A side track into its essence brilliantly.

Review: The seventh and final instalment of De:Tuned's brilliant Unboxed Brain series - an unashamed tribute to 1990s IDM and ambient techno featuring contributions from many of the artists who defined that scene - is predictably special. It features a slew of new remixes of previously released tracks, plus "Monolith", a previously unreleased ambient track from the Future Sound of London that's every bit as weird, wonderful and out there as the duo's greatest work. Elsewhere, Kirk Degiorgio (as Future/Past) and Mark Broom both drag B12's "World's End" towards the dancefloor (the latter providing a punchy electro re-make), while The Black Dog provides a brilliantly blissful, string-drenched ambient interpretation of Scanner's "Eros".

Review: Swiss master of all things deep, Bastian Volker is back for the eighth release on his always impressive Office imprint. Not just content with creating some lush music under the Baaz alias or redefining the dub techno sound as Eric Miller (like on his recent album Silhouettes for Sushitech this year), could he be delving into the world of hypnotic techno now also? Brilliant opener "Kraut House" starts the EP off in great form and is reminiscent of the tribal trance sounds of Refracted or Tozzy. On the flip, "Modual" is more like the Baaz we know; deep, dubby and emotive with a bumping baseline, smoky drum patterns and pitch shifted druggy vocals for added effect. Finally "Simple E" adds yet more variety to the release with this dusty and bittersweet slow burner that's perfect for drifting.

Review: This year marks 10 years since Bastian Volker first donned the Baaz alias. He remains one of deep house's most reliable producers, as this outing on longtime home Office Recordings deftly proves. He begins with the ocean-deep chords, softly spoken electronics and hypnotic groove of "Ween Been", before wrapping heart-aching pianos and drowsy chords around a barely audible drum track on the near-ambient bliss of "Absent". On the flipside you'll find the tech-tinged shuffle of "The Friend", where bolder kicks and snares rise above his liquid dreamscape, and the brilliant ambient electronica of sublime closer "Two (For You)". This is music for sunsets, sunrises and particularly sleepy afternoons.

Review: Swiss label Idealistmusic return with another fine various artists EP: the first since 2015's edition which brought us great stuff from SCSI-9, Pablo Mateo and Idealist himself. For the label's ninth edition, they serve up some tough tribal deep house by fellow Swiss deepness purveyors Baaz of Office Recordings whose contribution "Burgundy" is emotive as ever. Thomas Wood's "Rough Road" is classic deep house informed by a healthy love of classic Chicago sounds by Larry Heard or Chris Gray. On the flip, Christoph Schindling's contribution "Most Important" is a summery and hypnotic groove awash in tape saturation and lo-fi aesthetics; its spanglish melodies working some real magic over its strict electro beat.

Review: Original pressings have been previously spotted passing hands for well over L1000: Big Apple Band's 1976 deep funk classic has been rarer than hen's teeth for most of its 41 year life. Its sought-after status accelerated by Keb Darge for last 15 or so years - that and the fact it's an out-and-out soul-stirring, honey-vocalled, low and slow funk burner - AOTN have finally unleashed it in it full length for all of us. And we should all be eternally grateful.

Review: After the gnarly bassline from his track "Palats" from his first of now three Studio Barnhus 12"s this year, Baba Stiltz dodges the big room antics this time for something more emotional. The young Swede squeezes mournful licks of acid out of his 303 for the euphoric "Aches" which should be a lesson to others on how to extract soul from a machine. The B-side features two tracks, and the first, "U" is a melancholic waltz through video game-like synths and toy tone atmospheres, while a beatless but throbbing "€ Prom" is a second lesson in production, this time: Arpeggios.

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